| From This Day Forward Organ [Sheet music] FJH
Arranged by Mark L. Williams. For Organ. FJH Classical Organ Library. Contents: ...(+)
Arranged by Mark L. Williams. For Organ. FJH Classical Organ Library. Contents: Arioso from Contata No. 156 (Bach); Air from Water Music Suite (Handel); Andantino from Rosamunde (Schubert); Nocturne from A Midsummer Night's Dream (Mendelssohn); O Perfect Love; Bist du bei Mir (Bach); Canon in D (Pachelbel); Largo from Xerxes (Handel); Where'er You Walk (Handel); A Nuptual Blessing; Pastoral Symphony from Messiah (Handel); Jesu, Joy of Man's Desiring (Bach); He Shall Feed His Flock From Messiah (Handel); Bridal Chorus from Lohengrin (Wagner); Trumpet Voluntary; Wedding March from A Midsummer Night's Dream (Mendelssohn); Trumpet Tune; Allegro Maestoso from Water Music Suite (Handel); March from Richard the First (Handel); Rondeau from Sinfonies de Fanfares (Mouret); Prelude to Te Deum
(1)$17.95 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| The Hymn Fake Book - C Edition
Melody line, Lyrics and Chords [Fake Book] - Easy Hal Leonard
For voice and C instrument. Format: fakebook (spiral bound). With vocal melody, ...(+)
For voice and C instrument. Format: fakebook (spiral bound). With vocal melody, lyrics, piano accompaniment, chord names and leadsheet notation. Hymn. Series: Hal Leonard Fake Books. 494 pages. 9x12 inches. Published by Hal Leonard.
(3)$39.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| From This Day Forward Choral SSAA SSAA, Piano Subito Music
SSAA & Piano SKU: SU.YR6414 For SSAA & Piano. Composed by Judy Sma...(+)
SSAA & Piano SKU: SU.YR6414 For SSAA & Piano. Composed by Judy Small. Vocal/Choral, Secular Choral. Accompanied by piano, Women’s Chorus. Choral Octavo. Subito Music Corporation #YR6414. Published by Subito Music Corporation (SU.YR6414). Music and words by Judy Small. Arranged by Diane BenjaminSSAA & piano Composed: 1999 Published by: Yelton Rhodes Music Minimum order quantity: 8 copies. To order quantities fewer than 8, please email customer service at sales@subitomusic.com. $2.50 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Rise Up, Shepherd! Carl Fischer
Choral Bass 1, Bass 2, baritone voice tenor 1, tenor 2 SKU: CF.CM9634 Com...(+)
Choral Bass 1, Bass 2, baritone voice tenor 1, tenor 2 SKU: CF.CM9634 Composed by Traditional Christmas Spiritual. Arranged by Ken Berg. Sws. Performance Score. 16 pages. Duration 3 minutes, 40 seconds. Carl Fischer Music #CM9634. Published by Carl Fischer Music (CF.CM9634). ISBN 9781491157060. UPC: 680160915620. 6.875 x 10.5 inches. Key: G major. English, English. Traditional Christmas Spiritual. Berg's fantastic setting of this beloved American Christmas spiritual for advanced tenor-bass choirs tells a story of hope and meaning. The various textures throughout the a cappella arrangement with solos add much variety and musical interest. A holiday programming must!. This beloved American Christmas Spiritual, like all spirituals and/or folk songs, tells a story. This is a story of hope and meaning. The introductory solo call and response (mm. 1-7) is hymnic in nature, just to get us started. (Think of it as an effective head fake!) The entrance at m. 8 from the upper three voices (we'll call them the trio part henceforth) is pivotal. They set the stage for the conversation between the singers and the soloist for the rest of the song. From this point, the song is basically a Jazz Trio in vocal form. The bass singers take on the role of the cool dude in the back wearing dark glasses and a beret playing the string bass. They provide the driving force for the forward movement of the entire song. The trio part, basically tenors 1 & 2 and baritones, take on the role of the keyboard providing chordal structure and syncopation. Their job is to fill the listener's ear with sound and rhythm. The soloist tells the story using the known melody and text with appropriate improv opportunities to keep the listeners focused on the message of the song. There is enough repetition to make for easy learning, but this also means that the chords need to snap into position cleanly every time. The Verses are easily identified (there are three) and presented with some small variations in Verse 3 (see mm. 56-58...this only happens once). The Refrain (mm. 30-37) is the part of the song where the singers switch from the Jazz Trio role and actually become a Men's Choral Ensemble. This Refrain is repeated after Verse 3 at mm. 66-71. Between verses 2 & 3, there is not a refrain. Instead, there is a bridge repeated from the introductory material, but used this time to move us into a new key signature. This can be a very exciting moment for the singers as well as the listeners! Measures 72-75 is known in the business as a vamp. It can be repeated once and then move on, OR it can be repeated multiple times, depending on the comfort level of the soloist and the response of the audience. It is important that there be a clear signal from the conductor as to how to end the vamp and move effectively to the actual coda of the song. The ending should be sung with tight control that only looks like reckless abandon! Faces bright; words clean; melody clear; rhythms precise! Enjoy. This beloved American Christmas Spiritual, like all spirituals and/or folk songs, tells a story. This is a story of hope and meaning. The introductory solo call and response (mm. 1-7) is hymnic in nature, just to get us started. (Think of it as an effective head fake!)The entrance at m. 8 from the upper three voices (we’ll call them the “trio part†henceforth) is pivotal. They set the stage for the conversation between the singers and the soloist for the rest of the song. From this point, the song is basically a Jazz Trio in vocal form. The bass singers take on the role of the cool dude in the back wearing dark glasses and a beret playing the string bass. They provide the driving force for the forward movement of the entire song.The “trio partâ€, basically tenors 1 & 2 and baritones, take on the role of the keyboard providing chordal structure and syncopation. Their job is to fill the listener’s ear with sound and rhythm.The soloist tells the story using the known melody and text with appropriate improv opportunities to keep the listeners focused on the message of the song.There is enough repetition to make for easy learning, but this also means that the chords need to “snap into position†cleanly every time. The Verses are easily identified (there are three) and presented with some small variations in Verse 3 (see mm. 56-58…this only happens once).The Refrain (mm. 30-37) is the part of the song where the singers switch from the “Jazz Trio†role and actually become a “Men’s Choral Ensembleâ€. This Refrain is repeated after Verse 3 at mm. 66-71. Between verses 2 & 3, there is not a refrain. Instead, there is a bridge repeated from the introductory material, but used this time to move us into a new key signature. This can be a very exciting moment for the singers as well as the listeners!Measures 72-75 is known in the business as a “vampâ€. It can be repeated once and then move on, OR it can be repeated multiple times, depending on the comfort level of the soloist and the response of the audience.It is important that there be a clear signal from the conductor as to how to end the “vamp†and move effectively to the actual coda of the song. The ending should be sung with tight control that only looks like reckless abandon!Faces bright; words clean; melody clear; rhythms precise! Enjoy. $2.75 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Crown Him Lord This Easter Day! Choral SATB SATB, Brass instrument(s) [Octavo] Hope Publishing Company
By Don Besig / Nancy Price. For SATB choir with optional B-flat Trumpet. Scriptu...(+)
By Don Besig / Nancy Price. For SATB choir with optional B-flat Trumpet. Scripture References: John 20:1-10 -- Matthew 28:1-10 -- Mark 16:1-8 -- Luke 24:1-11 -- Revelation 19:12. Sacred, Easter, Hymntune. Choral octavo. 12 pages
(1)$2.95 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Let's Play Jazz and More * Book 2 Piano solo [Sheet music + CD] Santorella Publications
Let's Play Jazz and More * Book 2 composed by Jay Latulippe and Sonny Doss. For ...(+)
Let's Play Jazz and More * Book 2 composed by Jay Latulippe and Sonny Doss. For easy piano. This edition: Paperback. Instructional. Jazz Method. Book and CD. Text Language: English. 48 pages. Published by Santorella Publications
$14.95 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Duke Robillard - Uptown Blues, Jazz Rock and Swing Guitar Guitar notes and tablatures [Sheet music + Audio access] Hal Leonard
From the Classic Hot Licks Video Series. By Duke Robillard. Hot Licks. Blues ...(+)
From the Classic Hot Licks
Video Series. By Duke
Robillard. Hot Licks. Blues
Instruction, Jazz
Instruction, Rock
Instruction. Softcover Video
Online. With guitar
tablature. 64 pages.
Published by Hal Leonard
$19.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| My Dancing Day, On Christmas Night Choral SATB SATB [Octavo] Alfred Publishing
Arranged by Gary Fry. Choir Sacred. SATB choir. Choral (Sacred); Choral Octavo; ...(+)
Arranged by Gary Fry. Choir Sacred. SATB choir. Choral (Sacred); Choral Octavo; Worship Resources. Gary Fry Choral Series. Christmas; Sacred; Winter. 24 pages. Published by Alfred Music Publishing
$2.95 $2.8025 (5% off) See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Crown Him Lord This Easter Day! Choral 3-part SAB [Octavo] Hope Publishing Company
Composed by Don Besig. For SAB choir. Text: John 20:1-10|Matthew 28:1-10|Mark 16...(+)
Composed by Don Besig. For SAB choir. Text: John 20:1-10|Matthew 28:1-10|Mark 16:1-8|Luke 24:1-11|Revelation 19:12. Choral octavo. Published by Hope Publishing Company
$2.95 - See more - Buy onlinePre-shipment lead time: 4 to 6 business days | | |
| Tomorrow's Yesterdays Concert band - Beginner FJH
Concert Band Concert Band - Grade 1 SKU: FJ.B1493S Score Only. Com...(+)
Concert Band Concert Band - Grade 1 SKU: FJ.B1493S Score Only. Composed by Brian Balmages. Concert Band. FJH Beginning Band. Form: Chorale. Score. Duration 3:00. The FJH Music Company Inc #98-B1493S. Published by The FJH Music Company Inc (FJ.B1493S). English. Allow the youngest of musicians to experience a truly emotional work with this tragic, yet hopeful work about loss and heartbreak. The lyrical lines, complex harmonies and textures remind us to always cherish wonderful memories from the past as we move ever forward. Designed to be anything but the typical ballad, this is sure to bring out the true musician in everyone. About FJH Beginning Band Appropriate within the first year of instruction and beginning of the second year. Clarinets do not go above the break, and there is limited use of accidentals. Plenty of doublings in the lower voices. Grade 1. $5.00 - See more - Buy online | | |
| Fuga Libre For Viola Solo Viola, French horn Piano - Advanced Schott
For Viola Solo. Composed by Garth Knox. This edition: Saddle stitching. Sheet mu...(+)
For Viola Solo. Composed by Garth Knox. This edition: Saddle stitching. Sheet music. String Solo. Special Import. Composed 2008. 16 pages. Duration 7'. Schott Music #VAB71. Published by Schott Music
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| Soldiers of the Cross Choral 3-part SAB, Piano [Octavo] Lorenz Publishing Company
Composed by Pepper Choplin. Sacred Anthem, Good Friday, Holy Week. Octavo. Lor...(+)
Composed by Pepper Choplin. Sacred Anthem, Good Friday, Holy Week. Octavo. Lorenz Publishing Company #10/3832L. Published by Lorenz Publishing Company (LO.10-3832L).
$2.75 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| At Her Ladyship's Request Theodore Presser Co.
Band Bass Clarinet, Bass Drum, Bassoon, Bongos, Chimes, Clarinet 1, Clarinet 2, ...(+)
Band Bass Clarinet, Bass Drum, Bassoon, Bongos, Chimes, Clarinet 1, Clarinet 2, Clarinet 3, Contrabass, Contrabass Clarinet, Contrabassoon, Crash Cymbals, Euphonium, Flute 1, Flute 2, Flute 3, Glockenspiel, Horn 1, Horn 2, Horn 3, Horn 4, Oboe 1 and more. SKU: PR.11540233F A Period Piece for Bands of Winds. Composed by Carter Pann. Sws. Full score. 60 pages. Duration 12:30. Theodore Presser Company #115-40233F. Published by Theodore Presser Company (PR.11540233F). ISBN 9781491114452. UPC: 680160667734. 9 x 12 inches. At Her Ladyships Request (2016) was an idea born out of admiration for the wind works of Percy Grainger most notably his Lincolnshire Posey. The names and places here are all fictitious. Four countrymen have come forward at Her Ladyships request as we com. At Her Ladyshipas Request (2016) was an idea born out of admiration for the wind works of Percy Grainger a most notably his Lincolnshire Posey. The names and places here are all fictitious. Four countrymen have come forward at Her Ladyshipas request as we commoners (and for as long as I can remember) have been led to believe Her Highness has grown complacent in her aged betrothal to His Lordship. I. It has long been established in this hill country that young, svelte Tom Abel has caught her fancy eye. He knocks about with the swagger of a visiting dignitary, confident and cocksure. And then there is his fatheras fortune. Cecil Abel may be the richest man in the land save for His Lordship. Tom, his only son, will run his face straight into that pile the moment his old man kicks. II. It is rare to spy Father Daniel Bennett, High Priest from the Abbey at Lockwood Cross, loitering in our very own town squarea|but not as of late. III. Is Her Ladyship so desperate as to call upon Old Man Dimplesweet? Were you to confirm this, I would have straightened my back and spit the ground before you. Then I saw what could not possibly be misconstrued. And where is His Lordship anyway? IV. Pettybone! Connivinga| insidious. I donat believe there has been a greater rivalry among men for generations. The Dukeas ego alone could run our nation. The grudges he grows are notorious. His mount is legendary. The day has come to collect his toll. At Her Ladyship's Request (2016) was an idea born out of admiration for the wind works of Percy Grainger - most notably his Lincolnshire Posey. The names and places here are all fictitious. Four countrymen have come forward at Her Ladyship's request as we commoners (and for as long as I can remember) have been led to believe Her Highness has grown complacent in her aged betrothal to His Lordship. I. It has long been established in this hill country that young, svelte Tom Abel has caught her fancy eye. He knocks about with the swagger of a visiting dignitary, confident and cocksure. And then there is his father's fortune. Cecil Abel may be the richest man in the land save for His Lordship. Tom, his only son, will run his face straight into that pile the moment his old man kicks. II. It is rare to spy Father Daniel Bennett, High Priest from the Abbey at Lockwood Cross, loitering in our very own town square...but not as of late. III. Is Her Ladyship so desperate as to call upon Old Man Dimplesweet? Were you to confirm this, I would have straightened my back and spit the ground before you. Then I saw what could not possibly be misconstrued. And where is His Lordship anyway? IV. Pettybone! Conniving... insidious. I don't believe there has been a greater rivalry among men for generations. The Duke's ego alone could run our nation. The grudges he grows are notorious. His mount is legendary. The day has come to collect his toll. At Her Ladyship’s Request (2016) was an idea born out of admiration for the wind works of Percy Grainger – most notably his Lincolnshire Posey.The names and places here are all fictitious. Four countrymen have come forward at Her Ladyship’s request as we commoners (and for as long as I can remember) have been led to believe Her Highness has grown complacent in her aged betrothal to His Lordship.I. It has long been established in this hill country that young, svelte Tom Abel has caught her fancy eye. He knocks about with the swagger of a visiting dignitary, confident and cocksure. And then there is his father’s fortune. Cecil Abel may be the richest man in the land save for His Lordship. Tom, his only son, will run his face straight into that pile the moment his old man kicks.II. It is rare to spy Father Daniel Bennett, High Priest from the Abbey at Lockwood Cross, loitering in our very own town square…but not as of late.III. Is Her Ladyship so desperate as to call upon Old Man Dimplesweet? Were you to confirm this, I would have straightened my back and spit the ground before you. Then I saw what could not possibly be misconstrued. And where is His Lordship anyway?IV. Pettybone! Conniving… insidious. I don’t believe there has been a greater rivalry among men for generations. The Duke’s ego alone could run our nation. The grudges he grows are notorious. His mount is legendary. The day has come to collect his toll. $30.00 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| The Violinist’s Daily Warm-Ups and Scale System Carl Fischer
Chamber Music Violin SKU: CF.BF131 Composed by Roland Vamos. With Standar...(+)
Chamber Music Violin SKU: CF.BF131 Composed by Roland Vamos. With Standard notation. 168 pages. Carl Fischer Music #BF131. Published by Carl Fischer Music (CF.BF131). ISBN 9781491153765. UPC: 680160911264. 9 x 12 inches. Inspired by Clarence Cameron White’s book The Violinist’s Daily Dozen, The Violinist’s Daily Sixteen is a collection of daily exercises compiled by Roland Vamos. Intended for student and professional violinists, the collection provides the performer with a variety of exercises for daily warm-ups. Mr. Vamos also focuses on developing dexterity and flexibility in the fingers and joints, the first and fourth fingers in particular. Each of the sixteen exercises is notated for each of the four strings, and Vamos recommends that the exercises be practiced as warm-ups, choosing a different string for each day of practice.Also included with the Daily Sixteen is a comprehensive set of studies for developing fluency with scales and arpeggios. Mr. Vamos’ unique methodology is to begin with major scales and arpeggios, followed by minor scales and arpeggios, all of which are notated in two, three and four octaves. Alternate fingers are provided, as well as a variety of slurred and mixed bowings using the three parts of the bow whenever feasible. It is a remarkably systematic approach to performing scales and arpeggios on the violin and will surely benefit students and professionals alike. ForewordThis short hand-setting set of exercises was inspired by a book entitled The Violinist’s Daily Dozen, conceived by Clarence Cameron White, a prominent African-American violinist, composer and arranger who enjoyed the bulk of his career in the first half of the twentieth century.I have practiced this set of exercises since I was twelve years old. It has served me as a superb warm-up and hand setting tool. Over the years, I have found that there are some aspects of this warm-up routine that were not given sufficient attention or not addressed at all. Consequently, I have expanded the Daily Dozen to create a new work entitled The Violinist’s Daily Sixteen.I have also paid particular attention in this work as to how these exercises are to be practiced. In exercises one and two, I have indicated some notes to be played before the actual written exercises. This is to ensure that the fourth finger will be over the string in a position ready to strike even though it is not being used. Before playing exercises three, four, nine, ten, eleven and twelve, I have indicated silent fingers to be placed on the notes they would be playing if they were being used.I have replaced Mr. White’s grace notes with notes of specific value and have slowed down the exercises so that the first joint (the joint nearest the string) of each finger can move with flexibility and strength. At no time should the first joint buckle.In Mr. White’s version, the last exercise gave the first finger some very valuable backward extensions. In this exercise (number 14 in this book), I caution the student not to move the hand along with the first finger. The hand should remain in position while the first finger independently moves back and forth.It became obvious to me that if the first finger were given the opportunity to develop the dexterity that Mr. White’s twelfth exercise emphasizes, the fourth finger could benefit from an exercise that gives it a forward extension. Consequently, I added another exercise to create a Baker’s Dozen (thirteen).Several years later, I felt that the second and third fingers should also have an exercise to further develop their dexterity…hence exercise fourteen was added to create a “Vamos Dozen.â€Because the first finger did not have sufficient practice in the development of the first joint in the original version, I have added two exercises to precede White’s fifth exercise. After re-working and re-numbering these exercises, I have come up with a total of sixteen exercises. It is my suggestion that these be practiced as a warm-up, choosing a different string each day.—Roland VamosEvanston, Illinois 2017 PrefaceScales are a means of teaching a person the fingerboard on his or her instrument. The fingers move across the strings and are required to make shifts, all in highly organized patterns. Scales and arpeggios are the foundation upon which our repertoire is built. Many scale books have been written; each one being organized in its own specific way. The Flesch Scale System has been a standard for many decades. It is very comprehensive and systematic. From the point of view of establishing similar patterns, it has one drawback: it is organized by starting with a major key, followed by its relative minor, going through the circle of fifths. I believe that it is more profitable to do only major scales with their arpeggios first, going up chromatically, and then follow them in a similar way with the minor scales. In using this approach, the similarities in fingerings between the various scales are more apparent. It is also profitable to have alternate fingerings whenever possible. My approach to scales and arpeggios includes a variety of slurred and mixed bowings using the three parts of the bow whenever feasible. These bowings are not all-inclusive. Whenever a particularly awkward bowing pattern is encountered in the repertoire, it can be practiced as an additional bowing variation in the scales and arpeggios.   I have chosen to introduce the three and four octave scales by teaching two octave scales across the strings in one position going up chromatically through seven positions; starting on the first, second, third, and finally fourth fingers in major and melodic minor.—Roland VamosEvanston, Illinois 2017. $29.99 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Pat Metheny: Pat Metheny Songbook Guitar [Fake Book] Hal Leonard
Performed by Pat Metheny. For guitar (no tablature). Format: fake book. With lea...(+)
Performed by Pat Metheny. For guitar (no tablature). Format: fake book. With leadsheet notation and chord names. Jazz and jazz fusion. 448 pages. 9x12 inches. Published by Hal Leonard.
(9)$59.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Orgelsinfonie No. 16 'Martin Luther' Organ - Advanced Schott
Organ - advanced SKU: HL.49045437 For Organ. Composed by Enjott Sc...(+)
Organ - advanced SKU: HL.49045437 For Organ. Composed by Enjott Schneider. This edition: Saddle stitching. Sheet music. Organ Large Works. Classical. Softcover. Composed 2016. 48 pages. Duration 24'. Schott Music #ED 22668. Published by Schott Music (HL.49045437). ISBN 9790001162715. UPC: 841886029088. 9.0x12.0x0.168 inches. On the occasion of the quincentenary of Reformation Day in 2017, the composer Enjott Schneider thoroughly studied Martin Luther the individual and all his contradictions. The result is a brilliant, demanding organ symphony which is perfect for concerts on the subject of Reformation and Martin Luther.The composer describes the five movements of the symphony as follows:'1st movement:Wir glauben all an einen Gott with its quintuplet-like beginning is very Gregorian in style, outlining the range of Lutheran emotionalism between the Middle Ages and the modern era. The irrationality of faith ultimately has priority over any thought and evidence. At the beginning of the movement, sounds of knocking on wood remind of the nailing of the Ninety-Five Theses to the doors of churches in Wittenberg. The chorale melody sometimes hides with an almost rough medieval saltarello, referring to Luther's robustness and vitality with which he knew to carry away even common people.2nd movement:In 1530, the electoral prince of Saxony presented to Luther at Coburg Castle the golden signet ring with the Luther rose which became the symbol of his theology of grace. A white heart with black cross is fixed on a five-petalled rose. To him, white is the colour of angels and ghosts, black stands for the pain of crucification: The just shall live by faith, but by faith in the Crucified. But the fact that the rose and the heart are the dominating symbols shows how Catholic Marian piety remained an ingredient of Luther's spirituality throughout his life. In line with the dominant five-petal structure of the rose, this movement was composed, to a large extent, in accordance with the floating, lyrical rhythm in 5/8 time.3rd movement:The omnipresence of death and dying - from the plague and war to the never-ending dangers of daily life - was an essential part of the world view of that time. Fears ensued that might heighten into the grotesque, e.g. in the pictures of Hieronymus Bosch. The Danse macabre was a popular motif in those years. Luther's chorale Mitten wir im Leben sind / mit dem Tod umfangen from 1524 (Enchiridion from Erfurt) is based on the Gregorian chant Media vita in morte sumus created in France around 750 and, with its idea of transience, inspired a simplistic air.4th movement:The famous confession delivered at the Diet of Worms in 1521, I stand here and can say no more. God help me. Amen, are not Luther's words but the version later used as text for a pamphlet. However, it represents quite plainly the straightforwardness and inevitability of his mission. Musically, it was made into a perpetuum mobile, i.e. a dogged, ostinato and never-ending musical air.5th movement:The Mighty Fortress, on the other hand, is one of the great symbols of Martin Luther which, with its shining C major key, embodies the Protestant ideology and willful nature of the Reformation unlike any other song. Heinrich Heine called it the Marseille anthem of the Reformation, Friedrich Engels the Marseillaise of the Peasants' Wars. This disputability is not thought through to the end but rather interrupted: With a jubilant birdcall version of the melody, the finale shows a rather chamber-music-like side of the ideals of freedom of Christians.'. $28.99 - See more - Buy online | | |
| At Her Ladyship's Request Theodore Presser Co.
Band Bass Clarinet, Bass Drum, Bassoon, Bongos, Chimes, Clarinet 1, Clarinet 2, ...(+)
Band Bass Clarinet, Bass Drum, Bassoon, Bongos, Chimes, Clarinet 1, Clarinet 2, Clarinet 3, Contrabass, Contrabass Clarinet, Contrabassoon, Crash Cymbals, Euphonium, Flute 1, Flute 2, Flute 3, Glockenspiel, Horn 1, Horn 2, Horn 3, Horn 4, Oboe 1 and more. SKU: PR.11540233L A Period Piece for Bands of Winds. Composed by Carter Pann. Spiral. Large Score. 58 pages. Duration 12:30. Theodore Presser Company #115-40233L. Published by Theodore Presser Company (PR.11540233L). ISBN 9781491129418. UPC: 680160674367. 11 x 14 inches. At Her Ladyship's Request (2016) was an idea born out of admiration for the wind works of Percy Grainger - most notably his Lincolnshire Posey. The names and places here are all fictitious. Four countrymen have come forward at Her Ladyship's request as we commoners (and for as long as I can remember) have been led to believe Her Highness has grown complacent in her aged betrothal to His Lordship. I. It has long been established in this hill country that young, svelte Tom Abel has caught her fancy eye. He knocks about with the swagger of a visiting dignitary, confident and cocksure. And then there is his father's fortune. Cecil Abel may be the richest man in the land save for His Lordship. Tom, his only son, will run his face straight into that pile the moment his old man kicks. II. It is rare to spy Father Daniel Bennett, High Priest from the Abbey at Lockwood Cross, loitering in our very own town square...but not as of late. III. Is Her Ladyship so desperate as to call upon Old Man Dimplesweet? Were you to confirm this, I would have straightened my back and spit the ground before you. Then I saw what could not possibly be misconstrued. And where is His Lordship anyway? IV. Pettybone! Conniving... insidious. I don't believe there has been a greater rivalry among men for generations. The Duke's ego alone could run our nation. The grudges he grows are notorious. His mount is legendary. The day has come to collect his toll. At Her Ladyship’s Request (2016) was an idea born out of admiration for the wind works of Percy Grainger – most notably his Lincolnshire Posey.The names and places here are all fictitious. Four countrymen have come forward at Her Ladyship’s request as we commoners (and for as long as I can remember) have been led to believe Her Highness has grown complacent in her aged betrothal to His Lordship.I. It has long been established in this hill country that young, svelte Tom Abel has caught her fancy eye. He knocks about with the swagger of a visiting dignitary, confident and cocksure. And then there is his father’s fortune. Cecil Abel may be the richest man in the land save for His Lordship. Tom, his only son, will run his face straight into that pile the moment his old man kicks.II. It is rare to spy Father Daniel Bennett, High Priest from the Abbey at Lockwood Cross, loitering in our very own town square…but not as of late.III. Is Her Ladyship so desperate as to call upon Old Man Dimplesweet? Were you to confirm this, I would have straightened my back and spit the ground before you. Then I saw what could not possibly be misconstrued. And where is His Lordship anyway?IV. Pettybone! Conniving… insidious. I don’t believe there has been a greater rivalry among men for generations. The Duke’s ego alone could run our nation. The grudges he grows are notorious. His mount is legendary. The day has come to collect his toll. $60.00 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Everyone Sang Choral SATB SATB, Piano Carl Fischer
Choral SATB Choir and Piano SKU: CF.CM9740 Composed by Mark Burrows. 16 p...(+)
Choral SATB Choir and Piano SKU: CF.CM9740 Composed by Mark Burrows. 16 pages. Duration 4 minutes, 22 seconds. Carl Fischer Music #CM9740. Published by Carl Fischer Music (CF.CM9740). ISBN 9781491161203. UPC: 680160919789. Key: Bb major. English. Siegfried Sasson. Everyone suddenly burst out singing; And I was filled with such delight As prisoned birds must find in freedom... These opening lines to Everyone Sang by the British war poet Siegfried Sassoon feel as relevant today as they did when the poem was first published in 1919. It was after the end of World War I and these words capture so much of the collective exhilaration, relief, and pure joy about the Great War finally coming to an end. And yet Sassoon himself felt none of that when he wrote this poem. In his own words, he was feeling dull-minded and depressed. Perhaps his time in the trenches was still too recent. One of the reasons the creative arts are so powerful is that a poet like Sassoon (or a painter like Van Gogh or a composer like Mahler) can take their own feelings of deep sadness or pain and transform them into something beautiful, even uplifting. Everyone Sang is a celebration of the promise that things can get better, that there are things worth looking forward to. The poem itself has so much rhythm and musicality. The appearance of suddenly in the first line of each verse gives those verses a rush of energy. Attention to the crescendo in measure 7, and again in measure 37, from mf to f will help the listener experience that rush. There are expressive opportunities with so many of the poet's bold choices of action words - burst, winging, and shaken. Then there's alliteration - a poetic device that can be overdone, but Sassoon strikes a wonderful balance. Suddenly/singing (measures 6-7 and 10-11) Find/freedom (measure 21-22) Winging/wildly (measure 23) Setting/sun (measures 47-49) Was/wordless (measures 65-75) Give these alliterations just a hint of emphasis (without overdoing) to bring out the natural rhythm of the text. And just as O is set apart in the poem by punctuation, I wanted the musical setting - in measure 57 - to honor that feeling of wonder - ...O, but Everyone Was a bird; and the song was wordless; the singing will Never be done. Friends, there is so much good ahead, so much to be excited about. May the singing never be done. Everyone suddenly burst out singingAnd I was filled with such delightAs prisoned birds must find in freedom…These opening lines to Everyone Sang by the British war poet Siegfried Sassoon feel as relevant today as they did when the poem was first published in 1919. It was after the end of World War I and these words capture so much of the collective exhilaration, relief, and pure joy about the “Great War†finally coming to an end. And yet Sassoon himself felt none of that when he wrote this poem. In his own words, he “was feeling dull-minded and depressed.†Perhaps his time in the trenches was still too recent.One of the reasons the creative arts are so powerful is that a poet like Sassoon (or a painter like Van Gogh or a composer like Mahler) can take their own feelings of deep sadness or pain and transform them into something beautiful, even uplifting. Everyone Sang is a celebration of the promise that things can get better, that there are things worth looking forward to. The poem itself has so much rhythm and musicality.The appearance of “suddenly†in the first line of each verse gives those verses a rush of energy. Attention to the crescendo in measure 7, and again in measure 37, from mf to f will help the listener experience that rush.There are expressive opportunities with so many of the poet’s bold choices of action words – burst, winging, and shaken.Then there’s alliteration - a poetic device that can be overdone, but Sassoon strikes a wonderful balance.Suddenly/singing (measures 6-7 and 10-11)Find/freedom (measure 21-22)Winging/wildly (measure 23)Setting/sun (measures 47-49)Was/wordless (measures 65-75)Give these alliterations just a hint of emphasis (without overdoing) to bring out the natural rhythm of the text. And just as “O†is set apart in the poem by punctuation, I wanted the musical setting – in measure 57 - to honor that feeling of wonder –…O, but EveryoneWas a bird; and the song was wordless; the singing willNever be done. Friends, there is so much good ahead, so much to be excited about.May the singing never be done. $2.75 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
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